QLD Awards Bk_2022

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THE AUSTRALIAN INSTITUTE OF ARCHITECTS THANKS THE PARTNERS OF THE 2022 QLD CHAPTER ARCHITECTURE AWARDS.

MAJOR NATIONAL PARTNERS

NATIONAL CORPORATE PARTNERS

NATIONAL INSURANCE PARTNER

QLD CHAPTER PARTNERS

Established 1912

AWARD PARTNERS

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NATIONAL MEDIA PARTNER

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FROM THE QLD CHAPTER PRESIDENT

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RESIDENTIAL ARCHITECTURE - HOUSES (NEW)

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FROM THE JURY CHAIR

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QLD

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2022 STATE JURY

RESIDENTIAL ARCHITECTURE - MULTIPLE HOUSING

ARCHITECTURE

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2022 REGIONAL JURY

66

HERITAGE ARCHITECTURE

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QUEENSLAND MEDALLION

72

URBAN DESIGN

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ENDURING ARCHITECTURE

78

SUSTAINABLE ARCHITECTURE

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COMMERCIAL ARCHITECTURE

84

SMALL PROJECT ARCHITECTURE

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EDUCATIONAL ARCHITECTURE

88

COLORBOND® AWARD FOR STEEL ARCHITECTURE

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INTERIOR ARCHITECTURE

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EMAGN PROJECT AWARD

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PUBLIC ARCHITECTURE

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EMERGING ARCHITECT PRIZE

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RESIDENTIAL ARCHITECTURE - HOUSES (ALTERATIONS AND ADDITIONS)

CONTENTS

AWARDS

COVER IMAGE: QUEENSLAND MEDALLION AWARD ANDREW N. LIVERIS BUILDING LYONS ARCHITECTS + M3ARCHITECTURE PHOTOGRAPHER: CHRISTOPHER FREDERICK JONES

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FROM THE QLD CHAPTER PRESIDENT

MARK JONES QLD CHAPTER PRESIDENT

In viewing the award-winning projects at Regional and State level this year, I observe two striking attributes. The first is that many of the awardees in 2022 are new practices, young practitioners or practices that have not previously been awarded.

This is really heartening in that it signifies a broadening of high-level design and management skills across our profession, and signifies a future of design strength in Queensland. The second aspect that I find particularly heartening is that several award-winning projects have a strong linkage to Connection to Country. Our regions are leading the way here. Momentum in this important dimension is building quickly as architects and clients are realising the immense value and potential of design thinking that incorporates the perspective of our Indigenous sisters and brothers, built on millennia of knowledge.

In this piece, I wish to mention the principal contributors to good architecture. We all understand that in the triangle of client-builderarchitect, having three strong corners is critical for a successful building project outcome.

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The client entity on most architectural projects is a complex one involving not only the client representative or project manager but also various specialist advisors and user groups. All play an important role in the briefing and design review processes. For builders, the support personal include subcontractors, suppliers, safety managers, those driving time and cost control and others. Thank you to all the contributors to good architectural outcomes on both the clients’ and builders’ teams!

Now, for the architect, the support of many specialist design consultants is crucial. Where those consultants are architecturally aware and where the architect has a solid understanding of all the engineering disciplines, then a project can really sing. We salute all the enlightened engineers and others for your positive impact on design.

Having acknowledged all of those inputs, I wish to conclude by celebrating the people that I have long believed to be the true heroes of awardwinning architecture. That is the employees of architectural practices.

These are the students, graduates, technicians, architects and project architects; the women and men who build and maintain the BIM model, organise all of the outputs, check compliance with codes and with the brief, complete all the QMS compliance, do the coordination and much more; basically, the long hard yards of design development and documentation output. On behalf of the profession, I thank and congratulate all those employees for the diligence and design commitment that has produced the suite of magnificent buildings represented by this year’s award-winning projects.

In closing, I extend our thanks to Chapter staff for the organisation of our monumental awards program, and also to the dozens of our volunteer jurors. Perhaps I need not thank the latter as this is always such an educational and pleasurable experience, but thank you anyway! And finally, to quote Mr Hooper of Yeppoon, ‘the awards are not a competition, they are a celebration!’.

FROM THE JURY CHAIR

SHY TAY QLD JURY CHAIR

Its humbling and a great privilege to be the Chair of Juries for the 2022 Queensland Architecture Awards. I am extremely proud of many things we have achieved as a team. I’d like to take this opportunity to share with you our report card of this remarkable season.

Every project in Queensland is visited in person due to the dedication of our 64 strong jury across the state. We thank them for the commitment and rigour to judge the work of their peers. This year, we continued to diversify our pool of jurors by inviting industry peers across planning, design and media, as well as graduates and students of architecture to contribute to the process.

By being more inclusive and seeking broader engagement, we have a stronger collective voice in communicating the value of good design.

In recent years, more emphasis has been placed on recognising the contributions members of the EmAGN demographic make. I am pleased The EmAGN Project Award is now included in all State Award programs across the country.

I would encourage early career practitioners to consider stepping forward to be on the jury in the future. You will find your jury experience to be professionally enriching and rewarding.

As we recover from the pandemic and recent weather events along the east coast, this era of uncertainty has catalysed opportunities for the profession to adapt to these conditions and be of greater service to our communities.

This year the State jury embraced the theme of resilience in assessing design excellence.

This is a reminder of the responsibility we have as architects to design with great regard for long-term impacts.

In 2022, 156 entries were received across the state of Queensland, which represents an increase of 20% from last year. Thank you to all the architects who have submitted their projects and all the clients who welcomed our jurors to view these projects. The quality was exceptional and reflects a state-wide commitment to good design outcomes within the built environment.

We were encouraged to see many projects contribute to the place they reside in ways that are meaningful to the community, climate, and environment.

We witness projects that: - provide immeasurable value and support to the community and diversity with modest means; - sensitively celebrate First Nation peoples’ relationship with ecology and landscape; - set new benchmarks that will leave lasting sustainable legacies; - provide solutions to issues surrounding housing affordability, densification and environmental challenges; - showcase commitment and a best-for-project attitude between the architect and client to create better built environments.

Finally, a thank you to my fellow state jurors Paul Jones, Leah Lang and Mare-Anne Ammons, chapter staff Anna Svensdotter, Chido Zimunhu and Rhiannon Dow for sharing this experience and their support come rain or shine. As a team, we managed to overcome all challenges with grace and good humour. On behalf of all Institute members, thank you.

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2022 STATE JURY

SHY TAY, CHAIR OF JURIES

PAUL JONES, DEPUTY CHAIR OF JURIES

ARKHEFIELD

OMA

Bringing joy to people’s lives through clever design solutions that have a positive community impact is central to Shy Tay’s approach to architecture. As Arkhefield’s principal, Shy works with the dedicated team of designers to deliver projects that benefit all.

Paul Jones is a practising Architect and Adjunct Professor of the University of Queensland, with over 30 years’ experience working across Australia and Internationally.

Shy leads projects in urban, transport and mixeduse precincts. His expertise in large scale urban renewal projects resulted in the recent delivery of the Brisbane International Cruise Terminal, the Bulimba Barracks Master Plan and the awardwinning Smith Collective project that served as the 2018 Gold Coast Commonwealth Games athletes’ village. Shy is committed to contributing to the public realm, co-authoring Brisbane City Council’s New World City Buildings that Breathe Design Guide and Design-led City Traditional Housing: Alterations and Extensions Design Guide. He has also written guidelines for Gold Coast City Council and Toowoomba Regional Council and is a member of the Queensland Urban Design Places Panel.

In his free time, he enjoys spending time with his human and feathered families - he is well known for his much-loved flock of bantam chickens.

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He is an inaugural member of the Western Australia Design Review Panel, a member of the Queensland State Government Urban Design and Places Panel, Chair of the Queensland Practice Committee, and sits on the National Practice Committee.

Paul has led the design and delivery of a range of projects – at a variety of scales – for government, institutional, corporate and private clients. These projects include significant masterplan, urban, cultural, heritage preservation, educational, sports, entertainment, mixed-use, commercial and residential projects.

Paul is Director of the Australian office of OMA. He was trained as an architectural intern at Peddle Thorp in Queensland, eventually becoming an Associate of the practice. Paul joined the Queensland practice Donovan Hill Architects in 1999, and became Director and Owner. In 2012, he became Principal at BVN Donovan Hill after merging of Donovan Hill Architects.

Paul relocated to Hong Kong as OMA’s Regional Director in 2013. He assisted in the design leadership, management and operations of OMA Asia, covering an array of regions and cultures.

Paul applies experience and knowledge of the international practice to the local context where OMA works in.

2022 STATE JURY

LEAH LANG

MARIE-ANNE AMMONS

STATE GOVERNMENT ARCHITECT

MARIE-ANNE AMMONS ARCHITECT

Leah Lang an experienced Strategic Design Advisor and award-winning registered architect (FRAIA) has been appointed in September 2021 as the Queensland Government Architect in the lead up to the 2032 Olympic and Paralympic Games. Notably, she served a four-year tenure as the Gold Coast City Architect. Undaunted by large-scale, complex and ambitious projects, Leah understands site-specific subtleties, thanks to her wealth of broader experiences — including but not limited to her work on the Gold Coast Light Rail and the $60.5 million Home of the Arts (HOTA) Gallery. Leah’s expertise is in high demand — as evidenced by her appointments to multiple high-profile design Boards.

Marie-Anne Ammons is a Brisbane-based architect specialising in heritage conservation, design, and assessment. Currently employed as a principal heritage officer at the Department of Environment and Science, Heritage Branch, she is involved in a range of projects and typologies ranging from large infrastructure / buildings to small scale adaptation to Queensland heritage listed places. This role requires specialist advice on the impacts of cultural heritage significance to these places while respecting site context and heritage values.

In 2013, Marie-Anne set up an architectural practice with Jinx Miles to focus on an integrated approach to design and conservation in response to the needs of building owners and users. Her firm’s experience in planning and design of public buildings has resulted in specialist knowledge of the functional requirements of training facilities, schools, police stations, prisons, office blocks, health facilities and other specialist facilities plus providing research, conservation planning, heritage applications and documentation of specialist building practices for heritage sites.

Marie-Anne enjoys the challenge of balancing the needs of heritage owners in achieving an outcome that protects the values and provides for ongoing use and enjoyment for the users.

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2022 REGIONAL JURY

COMMERCIAL ARCHITECTURE

INTERIOR ARCHITECTURE

Todd Crighton, Buchan Group (Captain)

Catherine Baudet, Catherine Baudet Architect (Captain)

David McEvoy, HASSELL Tanya Golitschenko, HASSELL Angelo Pagano, Conrad Gargett Sofie Pringle, Peddle Thorp Architects

RESIDENTIAL ARCHITECTURE - HOUSES (NEW) Brian Steendyk, Steendijk (Captain)

Llewellyn Griggs, REFRESH*DESIGN

James du Plessis, BVN

Kate Abbett, Wallacebrice Architecture

Leah Hartley, Arkhefield

Michael Dickson, UQ School of Architecture / Archipelago

EDUCATIONAL ARCHITECTURE

Sionnan Gresham, Student of the University of Queensland

Katerina Dracopoulos, Fulton Trotter Architects (Captain)

URBAN / PUBLIC ARCHITECTURE

Simon Moisey, Conrad Gargett

Caroline Stalker, Arup Pty Ltd (Captain)

Andrew D’Occhio, Cavill Architects

John Clarke, Parish Clarke Architects

Andrew Costa, KIRK

Andrew Noonan, Populous

RESIDENTIAL ARCHITECTURE - MULTIPLE HOUSING Edward Haysom, Transform Architecture (Captain) Andrew Kimmins, O’Neill Architecture Nicole Milne, DKO Architecture Damian Eckersley, BVN Ainsley Wynne, HASSELL

Brendan Sutton, Peddle Thorp Architects

SUSTAINABILE ARCHITECTURE

HERITAGE ARCHITECTURE Andrew Watson, Watson Architects (Captain) Luke Pendergast, Pendergast Architects Mitchell Mcdonald-Roberts, Arkhefield

SMALL ARCHITECTURE

RESIDENTIAL ARCHITECTURE – HOUSES (ALTERATIONS & ADDITIONS)

Jim Gall, Jim Gall Architects (Captain)

Chris Bligh, Bligh Graham Architects (Captain)

Senlina Mayer, Student of Queensland University of Technology

Julie Lawrence, Plot Architecture Kai Chua, DKO Architecture

Paul Sekava, Fulton Trotter Architects (Captain)

Charlotte Canning, BVN

Daniel Brown, Architecture Koen

Lindy Johnson, Lindy Johnson Creative

Munju Takalkar, GHDWoodhead George Taran, m3architecture

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Keaton Evans, Guymer Bailey Architects Catherine Sinnamon, Wilson Architecture OMMW

2022 REGIONAL JURY

DARLING DOWNS WEST MORETON

FAR NORTH QUEENSLAND

Lisa Moore, And Architecture / Sunshine Coast Council (Captain)

Julianne Field, JMc Architects

Michael Fleming, Feather and Lawry Design Tammy Neumann, Queensland Health Darling Downs Health Service Alice Hampson, Alice Hampson Architect Belinda Sanders, ABC Southern Queensland

Andrew McFadden, PAWA Architecture (Captain)

Robert Foote, Harris Kmon Solutions Leah Horstmann, ropic Group

CENTRAL QUEENSLAND Emma Scragg, Emma Scragg Architect (Captain) Paul Ipson Gordon, Gould Ipson Architects

GOLD COAST NORTHERN RIVERS

Cameron Bruhn, UQ School of Architecture

Brett Saville, Buchan Group (Captain)

NORTH QUEENSLAND

Vaughn Carnaffan, C2 Architecture Jane BoydRaunik, Design Group Ahmad Alwan, Student of Griffith University

Tania Dennis, Insideout Architects (Captain) Jeffery Kerr, Townsville City Council

SUNSHINE COAST Lea Lennon, Lea Lennon Architect (Captain) Alex Hoffmann, Habitance Phil Smith, Gomango Architects Brad Williams, RSP

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QUEENSLAND MEDALLION

ANDREW N. LIVERIS BUILDING LYONS ARCHITECTS + M3ARCHITECTURE

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES | LYONS

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The Queensland Medallion is the highest honour that can be bestowed at the Queensland Architecture Awards. This award is a reminder of the responsibility we have as architects to design with great regard for long-term impacts.

The Jury is delighted to award the University of Queensland’s Andrew N. Liveris Building, by Lyon + m3architecture, the 2022 Queensland Medallion.

A remarkable piece of architecture, the Andrew N. Liveris Building is recognised for the highest level of design excellence and thinking. Far beyond a well-considered learning environment, this landmark development represents values of environment, society, and governance, and establishes a legacy of learning and hope for the future.

At an urban scale, this project makes a very strong contribution to campus public realm quality and connectivity.

A larger scale abstraction of the central axis of the Great Court organises the site, offering both future room for consolidation and a temporary generous plaza. At a building scale, it set a new standard in flexible and shared laboratory accommodation. allowing maximum opportunity for undergraduates, postgraduates, and staff to interact and experience an inclusive research-led educational experience. Glasswalled research laboratories allow visitors to spectate research as it happens. The building brings together conceptual and pragmatic approaches in poetic ways that truly enliven the spirits of both students and teaching staff.

The Jury would also like to commend the University of Queensland for their continued commitment to creating a world-leading learning and research environment, and to leading Australia towards a more sustainable future.

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THE ROBIN GIBSON AWARD FOR ENDURING ARCHITECTURE

HARRY GIBBS BUILDING COMMONWEALTH LAW COURTS AUSTRALIAN CONSTRUCTION SERVICES IN ASSOCIATION WITH PEDDLE THORP ARCHITECTS

PHOTOGRAPHY: ARCHITECTUS

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The Harry Gibbs Commonwealth Law Courts, completed in 1993 and named in honour of former Chief Justice of Australia, Sir Harry Talbot Gibbs, is a monumental and civic building that is an important and memorable feature in the Brisbane cityscape. The locality and design were considered as part of a larger context and link with buildings both within the precinct and across the river, forming a civic language of monumentality and function between the State Courts, City Hall, the Transit Centre, and the Cultural Centre.

In scale, the Law Courts building suits the dignity of the institution of the law but avoids being intimidating. A ceremonial staircase off North Quay leads into the spectacular 8-storey atrium, which acts as unifying element for the various functions within the building, provides the orientation point for users, and gives majestic views over the river to the western suburbs from all levels.

The finishes to the building are of extremely high standard and are enduring. Clad in natural stone for the ground floor and precast panels for the remainder, these components were made from the local coloured Stanthorpe aggregate with a polished finish. Internally, extensive detailed works included sandstone, granite, precast, veneers, and complex courtroom joinery, and all are evidence of the exceptional efforts and meticulous selection of products and trades.

The sculptures and art works are a lost example of the integration of arts and architecture, and were carefully curated and considered in the design. They include: - the carved sandstone bas relief sculpture by John Elliott; - the maquette of the Australian Coat of Arms

by Australian Construction Services, Keith Ward, and Warren Langley; and

- the entrance sculpture, ‘Equilibrium’, created

by Akio Makigawa.

As a piece of enduring architecture, the building’s design, philosophy, and art combined are almost unmatched, and combine to form a truly commendable building that will prevail through the years as it maintains its function and purpose within the judicial system.

IMAGE (ABOVE): NAA_ITEM 6672828 - ARTIST’S IMPRESSION OF BUILDING (BRISBANE COMMONWEALTH LAW COURTS – NORTH QUAY VIEW – AN ARTIST’S IMPRESSION OF BUILDING, NATIONAL ARCHIVES OF AUSTRALIA, SERIES J2950, CONTROL SYMBOL ACS/9, 6672828) PHOTOGRAPHY (RIGHT): ARCHITECTUS

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THE BEATRICE HUTTON AWARD FOR COMMERCIAL ARCHITECTURE

TIMBER TOWER KIRK

Category Sponsor:

PHOTOGRAPHY: SCOTT BURROWS

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This cleverly executed 5-storey cross laminated timber (CLT) structure was erected in less than a month through methodically planned prefabrication techniques. The Timber Tower was developed in direct response to the limited build time, fixed floor area, and the challenge of constructing in an occupied and operational site. This experimental project is the first nonresidential building in Australia to use locally grown and manufactured mass timber—a true demonstration of innovative decarbonisation in the building process and the added end-of-life benefits of enabling a complete disassembly and reassembly. Innovatively drawing on residential construction techniques and material selection, the design has given the building an ambience and familiarity through its material selection of timber to door frames, detailed joinery, and wall linings.

The benefits of CLT as the primary vertical structure enabled useable, column free floor area to be combined with the warmth of the exposed timber structure. The siting of the building on the north-south axis optimises passive design outcomes for the workspaces, with generous windows filling each of the spaces and allowing for diffused daylighting to the interior. The Timber Tower maximises its 360-degree views across Brisbane Airport. This project presents an alternative model for constricted program delivery, and as a whole offers a strong presence and unique structure that is nestled within a highly restricted and complex environment.

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AWARD FOR COMMERCIAL ARCHITECTURE

WESTERN CAPE COMMUNITIES TRUST ADMINISTRATION CENTRE CLARKE AND PRINCE

Category Sponsor:

PHOTOGRAPHY: ANDREW WATSON

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Through extensive engagement with 11 traditional owner groups, the Western Cape Communities Trust Administration Centre successfully embraces holistic cultural narratives through the building’s siting, landscape, and integration of architecture and interiors. Totems in the landscaped forecourt represent the various Indigenous groups of the region through imagery and hierarchical placement. The building’s planning supports the conceptual framework for earth, sky, and water, with visual links emerging both through and from within the building while spaces pragmatically allow for adaptable and flexible use for optimal efficiency.

All rooms appear light and airy, with large windows that frame the surrounding landforms and provide connection to Country. The building is an unchallenged ‘beacon in the landscape’, further evoking its importance and empowerment to the local Indigenous peoples.

The siting and design of the project enables it to be viewed from all sides, and the contextual relationship anchors the building on the approach side and creates an elevation on the river side. Careful consideration of material selection for the harsh marine environment, maintenance, and cultural influences ensures long-term use and a robust outcome. The Centre is an extremely well thought out project that has successfully navigated the various challenges of building in the remote and robust Cape York region, and provides a recognisable and prominent home within the community on culturally significant land.

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AWARD FOR COMMERCIAL ARCHITECTURE

PROSERPINE ADMINISTRATION AND LOCAL DISASTER COORDINATION CENTRE CONRAD GARGETT Category Sponsor:

PHOTOGRAPHY: RIPTIDE CREATIVE

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The new Proserpine Administration and Local Disaster Coordination Centre reflects its local aesthetic through an intuitive design that also addresses the cyclonic impacts which destroyed the previous facility. Conrad Gargett’s informed local knowledge and understanding of the community, industry, and region is evident, and shines in the civic-minded solutions demonstrated in this building. The open-air gallery extending across the front of the building reflects traditional Queensland verandahs; it transitions movement from the street before opening into a full-height foyer and administrative spaces. The building is an interface between Council services and the public, and also provides visitor information, outdoor seating, and public indoor meeting space.

Conrad Gargett have used durable materials in ways that maintain transparency and connection to the public.

The building houses the Whitsunday Regional Council offices and the Local Disaster Coordination Centre while centrally providing for both building services and back-of-house needs.

Additional workspaces and Council Chambers are placed either side of the outside edges, providing natural light and pedestrian connection.

The well resolved design has also ensured local building skills’ utilisation and employment. The Centre provides the community with a landmark building and a place for administration and coordination that will serve the community into the future.

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COMMENDATION FOR COMMERCIAL ARCHITECTURE

THE OASIS TOWNSVILLE COUNTERPOINT ARCHITECTURE WITH PHORM ARCHITECTURE + DESIGN Category Sponsor:

PHOTOGRAPHY: ANDREW RANKIN

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A place of sanctuary for veterans to come and meet, the Oasis Townsville is both central to and connected with the local community. Repurposed from a Department of Primary Industries facility, the site has historic connections to WWII that are reflected in elements of the design and its programmatic layout. The facility provides a transitional ‘middle ground’ between life in the Services and reintegration into the broader community. Providing facilities and connections that support both programs and individuals, this successful facility sustains a home base for veterans and their community.

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COMMENDATION FOR COMMERCIAL ARCHITECTURE

QUEENSLAND FIRE AND EMERGENCY SERVICES SOUTHWESTERN REGIONAL HEADQUARTERS SIMS WHITE ARCHITECTS Category Sponsor:

PHOTOGRAPHY: SALT STUDIOS

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The Queensland Fire and Emergency Services Southwestern Regional Headquarters is a model design for housing 3 fire service agencies, a project that required a robust construction for efficiency, functionality, and future flexibility.

The well resolved planning creates separate and distinct zones for each subunit while promoting cooperation and team cohesion. The framed interior views capture the expansive rural landscape while managing solar exposure and glare with carefully positioned shading devices.

The site’s relationship to the land incorporates a ceremonial fire pit and acknowledges Indigenous fire-stick farming practices. The architect’s rigor in resolving the complex client brief within this majestic setting make the project’s successes both significant and memorable.

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THE JENNIFER TAYLOR AWARD FOR EDUCATIONAL ARCHITECTURE

ANDREW N. LIVERIS BUILDING LYONS ARCHITECTS + M3ARCHITECTURE Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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From a very complex and technical brief in a significant part of the University of Queensland’s St Lucia campus, this is a serious laboratory building, with a playful and esoteric approach that interconnects academic, scientific, social learning, and economic pursuits. The building establishes a much-needed home for the Chemical Engineering faculty. It organises physical containment research labs and engineering activities, providing adaptable layouts and services that enable ever-changing learning models to respond to global needs and leadership in chemical research. Teaching and learning spaces are ‘de-siloed’ and ‘teched up’ for use by the broader campus, enabled by the urban connections provided at the ground plane through multiple addresses and vertical circulation strategies.

The building is compactly planned around a central void, where breakout, social learning, and afterhours spaces interconnect on each level in different ways. The simple cube form and pixelated glass facade obscure mechanical services from view while also responding appropriately to the historic use of sandstone on campus. The green indoor/outdoor balconies for student amenity are composed from an analogy of an occupiable treed landscape connecting ground with sky. Quirky and unexpected, but effective and memorable, the building brings together conceptual and pragmatic approaches in unique and poetic ways for an unexpected typology.

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AWARD FOR EDUCATIONAL ARCHITECTURE

BRISBANE SOUTH STATE SECONDARY COLLEGE BVN

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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Brisbane South State Secondary College is an exemplar next generation tertiary education facility that will set benchmarks beyond Queensland. BVN have explored the potential of a multistorey secondary education campus typology that offers a professional working environment for both staff and students. This high-quality facility provides ample choice of teaching and learning environments of all types and scales, internally and externally, for all age groups. The building cleverly ‘Connects to Country’ in a way that heightens awareness of the context for users by providing views and connection to Brisbane’s Hinterland and the waterways of Moreton Bay. Planned around a central landscaped space and pushing functional built form to the perimeter of the site, the building efficiently optimises its busy-city fringe site, mitigating the feeling of congestion.

The envelope, landscape, and composition of the building is an exemplary response to a subtropical environment, and enables natural ventilation, shade, and protection from the elements. The cloister-like circulation strategies and building transparency enable users and staff to feel connected to the facility from all parts of the campus. The architectural language used was derived from the Indigenous Dutton Park habitat expression of the craft of new weaving and tool carving, and is evident in the metalwork and concrete tectonics. This future-focussed campus promotes a new type of learning oasis.

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AWARD FOR EDUCATIONAL ARCHITECTURE

ST THOMAS AQUINAS CENTRE DEICKE RICHARDS

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The St Thomas Aquinas Centre carefully knits a new educational facility into an existing school campus. The new building resets the campus masterplan, identifying both expansion and the redaction of tired buildings into the future, thus allowing the campus to present a new face to the public. The proposal cleverly organises a single collaborative administration hub. Working with the client, the architects consolidated staff workplaces and social spaces to the street front; these now supply a strong presence to the public, as well as a significantly improved functional and interactive workplace and administration area for staff and students.

As such, the project subtly and sensitively connects the administrative areas to the student and public interfaces. The simple, well detailed monolithic brickwork and glass facade helps to provide a new, clear image of the school, with the built form constructed to enable the landscape to weave between useable spaces, provide a pleasant outlook, and give access to light from within. This simultaneously reduces bulk from the street and makes the building feel approachable and connected to the public realm.

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AWARD FOR EDUCATIONAL ARCHITECTURE

USC FOUNDATION HOUSE HASSELL

Category Sponsor:

PHOTOGRAPHY: TOM ROSS

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USC Foundation House is part of the proposed spine of a new USC campus that will be anchored in the building’s heart. Hassell insightfully worked with the client to develop a brief and design for an academic program and site masterplan that was not fully developed at the time of conception. With clear urban connections to the adjacent rail network and future buildings, Foundation House is situated to help stimulate and activate economic and social benefits for the broader university precinct. Planned around an internal, open academic amphitheatre, an internal circulation loop navigates teaching spaces to its perimeter, and is interspersed with intimate personal learning nooks, communal shared spaces, and staff accommodation.

The teaching and learning staff are cleverly placed at an accessible democratic location adjacent to the amphitheatre, thus prioritising support and accessibility for students. The amphitheatre becomes the metaphoric heart of the building. Alternative entries and social (learning) spaces at the lower levels enable the building to interact with the ground plane, ably providing its public interface. Inverting the classic external courtyard typology successfully enables the building to embrace and connect the users under one grand roof. Foundation House is a high quality, well detailed, and overall well considered higher education building.

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THE GHM ADDISON AWARD FOR INTERIOR ARCHITECTURE

BVN BRISBANE STUDIO BVN

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The BVN Brisbane Studio office interior fitout typifies the real possibilities of the future of workplaces, particularly in an inner-city urban environment. A deliberate attempt has been made to place workspace on a ‘verandah’, which, combined with an operable envelope, enables staff to occupy and operate with a choice of working in a passive or conditioned environment.

In an environment where emphasis on both climate and air quality is paramount, BVN has explored the real incentive for environmental change that needs to be embraced by landlords and other such authorities; it perhaps takes the brave move of an architect to demonstrate and lead such change. Further, BVN have embraced new future models of work, with deliberate overlap between employee numbers and available desks.

Technology has been strongly embedded to enable a workplace that supports a flexible work/ home approach. High emphasis is placed on both social workspaces and high quality interactive and communal spaces—so that people can come together to engage and then retreat to personal spaces for concentrated work. Well-orchestrated arrival, circulation, and planning sequences demonstrate the transparency and openness of BVN’s culture, approach, and values. Ambitious and experimental, the BVN Brisbane Studio is easily imaginable and possible for all—it is an actively passive workplace environment.

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AWARD FOR INTERIOR ARCHITECTURE

ANDREW N. LIVERIS BUILDING LYONS ARCHITECTS + M3ARCHITECTURE Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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A great deal of the interior experience of the Andrew N. Liveris Building is a function of its simple block plan that is arranged around a tight void, with vertical circulation on its edge being supported by a primary circulation stair around its perimeter. High levels of filtered light fill the interior, with activation coming from the multiple forms of circulation and spatial organisation around the central void. With labs and teaching spaces on the upper levels and shared general learning spaces on lower levels, spaces are fully visible yet not over- or under-prescribed. Internal spaces are transparent, allowing them to be visually and physically connected to one another and the external context.

The interior language and detail come from a direct relationship with the robust, pragmatic, and functional requirements of the building: Materials and services are put together and left exposed in their raw state. The green nodal social learning spaces are the one exception, their form being taken from a treed landscape analogy, which is one of only two metaphoric explanations in the project. Key engineering demonstration spaces are placed en route throughout the site, demystifying and celebrating chemical engineering to those not typically involved. Well organised and functional, this fit-for-purpose interior exemplifies the direct relationship between architectural and functional requirements to deliver an interesting interior.

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AWARD FOR INTERIOR ARCHITECTURE

BRISBANE SOUTH STATE SECONDARY COLLEGE BVN

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The interior architecture of the Brisbane State Secondary College goes beyond typical expectations for public school typologies. The interior spaces are a direct response to the building’s architecture, which has large, glazed, operable facades, and other buildings are planned around a key public space in the centre of the site. The areas are bright, light-filled, and transparent, with direct visual connection between the interior spaces and the buildings across the site’s rich landscape and the context beyond. Spaces are physically connected to the exterior via the internal circulation balcony that connects all floors at each level, and which provides the ability to operate with a fresh or conditioned air environment, to suit the time of year.

Rooms have been finished and appointed in a way that makes for a professional learning environment, with digital systems integration, loose furniture systems, and operable walls that enable adaptability and flexibility in use. The organisation of the single-depth plan further enhances the transparency of the learning setup and its connectivity to exterior and other spaces. A play on large and small volumes that are interconnected in parts for large and small gatherings and activity makes for a diversity of spatial experiences and options for learning experiences. The building is an exemplar future educational facility in any context.

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COMMENDATION FOR INTERIOR ARCHITECTURE

HYPERDOME NORTH MALL CAVILL ARCHITECTS IN ASSOCIATION WITH

SULLIVAN SKINNER AND BUCHAN

The Hyperdome North Mall project was developed on design strategies that guided the transformation of an existing shopping mall at the Logan Hyperdome. The shopfronts were reconnected to the mall through increased glass height and by pushing bulkheads back from the mall edge; escalator voids were reduced to integrate children’s play areas and new food offerings. Clever rationalised expenditure allowed the salvaging of existing terrazzo floors and the retention of vaulted skylights. The refit is simple and clear and successfully heightens the customer’s retail experience through clever spatial manipulation.

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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39

THE FDG STANLEY AWARD FOR PUBLIC ARCHITECTURE

MUTTABURRASAURUS INTERPRETATION CENTRE BRIAN HOOPER ARCHITECT

Category Sponsor:

PHOTOGRAPHY: LISA ALEXANDER

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The Muttaburrasaurus Interpretation Centre is a sensitive architectural expression of landscape and built form that celebrates the most complete fossilised dinosaur skeleton found in Australia.

The building is undeniably of its place, with its careful orientation and placement of the entry and openings creating an incredible connection to the setting for the visitor, especially at sunset.

The unique surroundings have inspired this harmonious architectural response that rises from the landscape as though it was always part of the story of the town. The building is an installation that creates curiosity and excitement for visitors and provides an authentic contribution to the community.

Gabion walls of local stone create the oval walls of the main structure and entrance pathk with loose rock mounded around the exterior facade.

The lightweight, floating custom orb roof form, with a triangular truss along its spine, connects to its adjacent built environment. Materials and detailing minimise ongoing maintenance for an unattended, self-guided facility, and the space is naturally ventilated, with artificial lighting supplemented by daylight. This incredibly successful installation has reinforced the identity and tourism potential of the small town of Muttaburra, located in the geographical centre of Queensland, and showcases the power of well executed public architecture.

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AWARD FOR PUBLIC ARCHITECTURE

NEW FARM NEIGHBOURHOOD CENTRE VOKES AND PETERS WITH ZUZANA AND NICHOLAS

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The New Farm Neighbourhood Centre is a significant social asset that sits harmoniously in the existing streetscape. The architects have developed a finely tuned understanding of the diversity of the operators and visitors to this centre, and have orchestrated their needs skilfully into a welcoming communal setting.

There is a layering of spaces, transitioning from the public street through to the private offices that have been curated with care and consideration. The inclusion of places to gather in groups or sit alone activates the facade and allows people the time and space to cross the threshold into the facility in a way that suits their individual circumstances. A multiuse spine organises intensely programmed internal rooms that provide views and physical breaks for people to engage with the now useable external spaces.

Public gestures—a street library, a retaining wall that forms a seat, a community noticeboard on the generous terrace, and a café—have harnessed neighbourhood values through the addition of these well considered architectural elements. The architects have achieved a successful and thoughtful reading of both ‘home’ and ‘community’. Every suburb in Queensland would be fortunate to have as dedicated a place that, via modest means, provides immeasurable value and support to the New Farm community and its diversity.

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AWARD FOR PUBLIC ARCHITECTURE

HOTA GALLERY ARM ARCHITECTURE

Category Sponsor:

PHOTOGRAPHY: JOHN GOLLINGS

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The Gallery is the third completed element of the HOTA (Home of the Arts) masterplan for the City of Gold Coast. With 2000 square metres of gallery space in both horizontal and vertical formats, the architecture of the HOTA Gallery provides a beacon for the site via long views to the precinct from afar. The Voronoi diagram was utilised as an organising strategy that was transposed as a bold motif across the facade.

It represents the inherent nature of the bold cultural precinct to adapt and shift in response to external change and the youthful energy of Australia’s sixth biggest city.

The two entries to the building form as though carved out from parts from the foyer, verandah, and terraces. Once through the entry threshold, however, the visitor leaves the vibrancy of the colourful external experience behind, and the architecture recedes into a sophisticated palette of natural materials in whites, greys, and timber finishes that allow art to dominate the senses.

The sculptural timber staircase curates the visitor’s vertical journey to the top of the building, allowing them to meander into each of the gallery spaces and back out into the glass stairwell for moments of reflection that also present them with strong visual connections to the urban and natural landscape of the city.

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THE ELINA MOTTRAM AWARD FOR RESIDENTIAL ARCHITECTURE - HOUSES (ALTERATIONS AND ADDITIONS)

GREEN HOUSE STEENDIJK

On a tight inner city residential block measuring just 10 x 20 metres, the Green House by Steendijk is an ambitious and skilful reworking of a humble Spring Hill workers’ cottage. The detail and manner of new and old fabric contrast comfortably and tell their own stories, both alone and in collaboration.

The need to rebuild the bulk of the house allowed a new, meticulous and rich interior world to be crafted, with an expansive connection to a new walled garden that belies the 200sqm site area. Both spaciousness and variety have been achieved despite the tiny floor plan, with each room and space having its own character and engagement with the exterior.

A conscientious approach to sustainability has brought a sense of purpose and comfort.

The central Corten steel-plated staircase and attic spiral staircase serve a dual function for access and for drawing breezes upward during warmer months. The use of recycled hardwood combined with climatically responsive design, onsite power, and water harvesting further demonstrate how historic fabric can be reimagined for contemporary times.

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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AWARD FOR RESIDENTIAL ARCHITECTURE - HOUSES (ALTERATIONS AND ADDITIONS)

CASCADE HOUSE JOHN ELLWAY ARCHITECT

PHOTOGRAPHY: TOBY SCOTT

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The typical response for a timber cottage renovation in the area would have been to raise and build underneath, which would have obscured views and changed how the house addressed the streetscape. Instead, despite constraining the addition to the limited land immediately adjacent to the existing Queenslander, the alterations address entry, street engagement, and western sun mitigation in an extension that provides new spatial types not available in the existing cottage. The Cascade House demonstrates the way in which modest and highly disciplined interventions can yield generous and joyful outcomes.

The new and old are anchored around a courtyard, with the roof line kept low. This brings cross ventilation and prospects into the interiors while it also manages an enhanced connection to the ground. With interventions to the cottage minimised, the maximum potential of the budget was realised, and the existing fabric and street connection of the cottage respected.

This project is a wonderful example of how less can be more and how good design can benefit not only the owners but the neighbourhood.

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AWARD FOR RESIDENTIAL ARCHITECTURE - HOUSES (ALTERATIONS AND ADDITIONS)

CURRUMBIN WATERS HOUSE NIELSEN JENKINS

PHOTOGRAPHY: NIKOLAS STRUGAR

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A reconfiguration and slight addition to an existing GJ Gardner display home, Currumbin Waters House is a reminder that great value can be achieved through reuse and careful edits within the constraints of a modest budget.

The key move, relocating the existing car accommodation off the shared driveway to the adjoining cul-de-sac, allowed a creative reimagining of connection to the landscape and community. A sense of arrival and discovery leads to a careful extraction at the core of the existing dwelling. New openings were formed, allowing passive ventilation and light into the interior. A delightful exterior addition responds to nature ‘as a room’, expanding the use of the home, not just the footprint. Recycled brick elements incorporated into parts of the new accretions provide material memory of the original home, adding another layer to the narrative.

Manipulation of the existing house has enhanced and framed a creative solution that is informed by the practicalities and aspirations of contemporary family life as well as its all too real budgetary constraints. The architecture and new endemic landscape introduced to reinstate and repair the site conditions will bring a new lease of life to the suburban condition.

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AWARD FOR RESIDENTIAL ARCHITECTURE - HOUSES (ALTERATIONS AND ADDITIONS)

NOOSA HEADS HOUSE VOKES AND PETERS

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The Noosa Heads House started life as a mediocre suburban proposition, yet Vokes and Peters saw the value in the almost whole retention of the existing brick house, extracting only what was necessary in a rare proposition for housing in this location.

The conceptual framework of connecting contiguous, continual spaces, from public to private, outdoor to indoor, through change in levels, volume manipulation, and borrowed vistas, is masterfully crafted to bring delight as well as practicality.

The street frontage was reimaged, with a 2-storey screened verandah now providing shelter from weather, capturing light, and framing views of surrounding coastal landscape into the interiors.

The internal arrangement provides flexibility and robust utility, supporting hybrid uses over an extended life.

While limited in scope, the renovation to the existing house embodies a set of values and enquiries that is evident throughout the architects’ lineage of work. This project is perhaps more relevant to the current housing paradigm, where the project scale and budget are modest, and value has been placed on adapting current building stock toward a more regionally appropriate dwelling that is suitable to our subtropical climate.

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THE ROBIN DODS AWARD FOR RESIDENTIAL ARCHITECTURE - HOUSES (NEW)

BLIGH GRAHAM ARCHITECTS

Combining a home, an office, and a self-contained flat, the Live Work Share House was designed as a test case for flexible and adaptable multigenerational living and working on a suburban block. Taking advantage of the site’s dual street frontage, all components of the house positively contribute to the neighbourhood and the character of the streetscape. The dwelling provides solutions to issues surrounding housing affordability, remote work, and the need to house a growing population through the rigorous testing and execution of options for occupation.

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

Planning on the ground level includes an orchestrated cluster of micro courtyards that give permeability and resilience to the building no matter what its future use or guise. Hierarchy is achieved with the upper floor littered with bedrooms and through corridors that make it light, airy, and infinitely liveable in the Queensland climate.

LIVE WORK SHARE HOUSE

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Privacy is addressed playfully, with ‘curtained’ boundary walls and solid awning windows in red and green fiberglass sheets. Gardens between and around the built form ground the composition with a productive connection to land that also gently softens its edges.

The jury applauds the ambition of the Live Work Share House in testing new housing options that meet contemporary community, urban, and environmental challenges.

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AWARD FOR RESIDENTIAL ARCHITECTURE - HOUSES (NEW)

WITTA CIRCLE SHAUN LOCKYER ARCHITECTS

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The architect’s intuitive response to the client brief for the Witta Circle project explores a courtyard typology that boldly emerges from within its site, embracing the endemic landscape and subtropical climate. The void and courtyard in the middle of the plan create zone separation and enable the capture of warm daylight deep into the plan. An outdoor pool sits in repose to the formal indoor/outdoor living room and brings light to the subterranean level through glass panels on the pool wall.

A charred timber batten screen and the cascading landscape shield the windows and create a play of light and shadow into the interiors. The natural and tactile materiality is skilfully curated to complement the striking landscape setting. The house is meticulously detailed and was executed on point by a master builder who took great pride in his work. Planting is a central theme, softening the bold form and heightening the experience of daily life rituals.

This is the type of house that will age gracefully as the landscape starts to increasingly cascade.

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AWARD FOR RESIDENTIAL ARCHITECTURE - HOUSES (NEW)

BANKSIA HOUSE APHORA ARCHITECTURE

PHOTOGRAPHY: ANDY MACPHERSON STUDIO

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Given their close relationship to the client and deep understanding of the coastal context, Aphora Architecture designed Banksia House as both a refuge to accommodate the daily rituals of its residents and as a sanctuary deeply connected to the coastal environment.

Banksia House is more than a namesake of the Banksia Integrifolia native to the site. It also displays many characteristics of this hardy and versatile tree that is common along the east coast. A robust material palette to withstand the elements of the coastal environment, the large masonry brace walls serve a dual purpose, as windbreaks from prevailing coastal breezes; the deep eaves shade the interior in summer months; and the thermal massing of the building helps regulate a comfortable internal temperature throughout the day.

Taking advantage of the corner block site, future flexibility is enabled by the 2 separate street entries and by creating a smaller secondary dwelling arrangement for short-term guests, adaptable multigenerational living, and/or a work-from-home arrangement. The single-storey built form is modest in scale compared with many of its neighbours and blends gently into the streetscape of established vegetation. A good neighbour and a great coastal house.

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THE JOB & FROUD AWARD FOR RESIDENTIAL ARCHITECTURE - MULTIPLE HOUSING

ANNE STREET GARDEN VILLAS ANNA O’GORMAN ARCHITECT

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The brief for the Anne Street Garden Villas was to enable residents to ‘be good neighbours’ by creating environmental opportunities for socialisation while also facilitating respect for residents’ privacy and space. As such, each dwelling has an entry courtyard and garden, with well considered details such as a builtin seat that captures sunlight for the morning coffee ritual. These spaces also offer views to the communal garden, allowing residents to connect with their broader surroundings without necessarily being in a social setting, and further provide shade and thermal mass that cools the main living areas of each dwelling.

Using a simple palette of robust materials, the design responds to the context and scale with both single and 2-storey individual villas. The centre of the development forms the protected natural heart, providing social respite and connection that is interwoven with the biophilic and water-sensitive urban design. Each design element used has a duality that responds to the social, climatic, safety, and individual needs of the residents. Consideration of privacy, personalisation, access, and connection provide residents with a sense of both independence and community. Everyone deserves a good home, and this project certainly provides an exceptional example of how this can be realised.

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AWARD FOR RESIDENTIAL ARCHITECTURE - MULTIPLE HOUSING

NORFOLK BURLEIGH HEADS KOICHI TAKADA ARCHITECTS

PHOTOGRAPHY: SCOTT BURROWS

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A highly crafted response, demonstrating dedication to detail, Norfolk Burleigh Heads is positioned in a landmark location. The 10-storey structure provides 15 unique apartments and successfully strikes a balance between the functions of ‘public sculpture’ and resident autonomy. The strength of the conceptual framework and its application through the detail achieves a fluid, fine form, and a lightness not often seen in projects of this scale. Expansive views of the coast northward and east to the ocean are framed by heritage-listed Norfolk Pine trees, from which the project draws inspiration.

The organic, overlapping architectural curves and linear screening form the basis of this responsive building, with passive design principles at play.

Its floating, tapered balcony slabs are strategically overlapped to provide shade to the outdoor spaces below, and sliding slatted screens can be positioned for privacy or protection from the elements. The apartment layouts maximise passive solar design and enhance beachside living, capitalising on views, natural light, and open plan living. The materiality is informed by the surrounding landscape, the hues and textures of the sand, water, trees, and sky; the building thus sits comfortably within its Gold Coast surroundings, yet has its own unique identity.

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COMMENDATION FOR RESIDENTIAL ARCHITECTURE - MULTIPLE HOUSING

HAWTHORNE SIBLINGS REFRESH*DESIGN

PHOTOGRAPHY: SBP

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This project demonstrates that well designed small lot housing can be a successful solution to increasing residential density with little impact.

The well resolved planning delivers high quality amenity for its occupants using a skylight cutting through the length of the building to bring natural light to the inside. The houses present to the street as small cottage forms, hiding their comprehensive internal programme. The layout and engagement of the houses and the private outdoor spaces successfully control both breezes and privacy.

65

THE DON RODERICK AWARD FOR HERITAGE ARCHITECTURE

ST JOSEPH’S NUDGEE COLLEGE – TREACY PRECINCT M3ARCHITECTURE

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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St Joseph’s Nudgee College was the first purpose-built boarding college erected in Queensland in the late 1880s. The Treacy Precinct within the college campus is home to the foundation buildings that have been engrained in the psyche of generations of Nudgee students for over 130 years. The culmination of a 15-year masterplan by the client and architect, the Treacy Precinct reinstates both prestige and a refined new curtilage to the original buildings within Nudgee College’s Heritage Precinct.

Undertaking thorough research, respect for previous architectural intent, selective removal, and a restrained design solution, the project works succeed on many levels. The restoration of significant spaces, the addition of discrete modern interventions, and the innovative reuse of original fabric demonstrate a competent and refined understanding of conservation architecture, education, and the history of the school.

This sensitive design response reinstates the bell tower form in its original intent; lost fabric, such as the original cast-iron lacework, has been reinterpreted with contemporary detailing, and the lost ornate facades of the Duhig Building have been re-established and their original colour schemes reinstated. The interior spaces have been restored and reconfigured to meet the contemporary needs of education and the school. By removing unsympathetic development, this project demonstrates a bold undertaking that has both renewed important and lost campus connections and reactivated community gathering spaces.

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AWARD FOR HERITAGE ARCHITECTURE

BUILDING 8 RNA SHOWGROUNDS CONRAD GARGETT

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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Located within the RNA Showgrounds, the former Sheep and Wool Pavilion is a modest adaptation as a pavilion in the park. The circa 1920s timberframed core was retained and the outer 1960s addition that skirted the core was removed (with the exception of one facade) to unveil the early original structure. The demolished components were salvaged and reused as seating elements on the periphery of the building. This modest exhibition building forms part of the RNA’s Masterplan, and is testimony to good conservation practice. Removing later building additions returned the building to its original form, allowing it to provide flexible community spaces and a connection to place.

Minimal contemporary and discrete interventions for servicing and structure occurred, while much of the original fabric was retained, including the original ceiling, with its large-scale lattice, the high level battened walls, and the saw-tooth roofs. New apertures, in the form of translucent sheeting installed along the lengths of the sawtooth roofs, were based on the original glazed opening locations. An interpretation-display in the form of a stencil font used on wool bales has been painted on the bottom chords of the trusses to articulate the building’s previous uses. This project demonstrates excellent Burra Charter principles, and an attitude of restraint benefits the building, its history, and the public domain.

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COMMENDATION FOR HERITAGE ARCHITECTURE

PRINCESS THEATRE JDA CO

PHOTOGRAPHY: SCOTT BURROWS

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The classically designed Princess Theatre is the only largely intact 19th-century theatre remaining in Brisbane. The revitalisation of this 1888 brick masonry building needed to reinstate its former use as a live theatre and music and performing arts venue while sensitively integrating modern services, upgrading for acoustics and legislative requirements, and addressing repairs and reconstruction.

The JDA Co team’s successful approach ensures retention of public understanding and appreciation of the theatre’s craftmanship and rich history, while demonstrating a successful conservation outcome that will extend the life of the building for future generations.

71

THE KARL LANGER AWARD FOR URBAN DESIGN

ANDREW N. LIVERIS BUILDING LYONS ARCHITECTS + M3ARCHITECTURE Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES | LYONS

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The Andrew N. Liveris project site is significantly located at the UQ St Lucia Campus, on the axis of the historic Great Court between Staff House and Cooper Road. The architects chose to compose the project brief in a compact cube of consolidated space. Located in an already constrained campus, instead of occupying the entire site, the building program has been offset to allow a future building site through a generous temporary plaza, and a pedestrian cross-site link now connects Staff House and Cooper Road in a previously impenetrable part of the site.

This move simultaneously provides new multiple addresses to the building from different parts of the campus and connects multiple front doors of the building for its Chemical Engineering, General Purpose, and Center of Excellence programs.

The self-shading link pathway carves itself under the new building, so providing pedestrians with covered protection from the elements.

The route is imaginatively connected to the suspended green ‘trees pods’ that form part of the building’s gathering and vertical circulation strategies, making for an activated urban space, and the ground plane concurrently deals with the complexity of steep and varied contours across the site. The Andrew N. Liveris Building is an exemplary urban response in an existing complex campus environment that successfully optimises and liberates future opportunities on the site.

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AWARD FOR URBAN DESIGN

THE UNIVERSITY OF QUEENSLAND, GATTON CAMPUS HEART & ENTRY LAT27

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The University of Queensland Gatton Campus Heart & Entry project revitalises an underutilised historic spine within the university’s core by enhancing the links between historic and contemporary fabric and providing a clear order of arrival sequence through the new endemic landscape. Simple, yet grounded, the work celebrates the rural context and campus history, and sensitively references First Nations Peoples’ relationship with the early ecology and landscape.

The pragmatic solution of adjusting site levels for equitable access and replacing hard landscape pavement with curated lawns, has resulted in well shaded edges for respite as well as interstitial space between spine and existing built form.

A pair of new, neatly detailed pavilions franks the spine and highlights the arrival points to the existing buildings. The pavilions introduce protected outdoor gathering and learning spaces, allowing the seamless integration of architecture and landscape. The palette of materials, finishes, and furniture elements both complements the existing built form and references the existing brutalist buildings.

This successful project is commended for its restrained, considered, and understated approach in providing a climatically responsive and functional solution in parallel with bringing life back into the heart of the campus, reinforcing the historic central axis and strengthening the campus’s identity.

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COMMENDATION FOR URBAN DESIGN

BRISBANE SOUTH STATE COLLEGE BVN

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The masterplan for the Brisbane South State College organises the program and buildings to the perimeter of a central communal space.

The buildings thus defend the campus from the surrounding busy network of roads, enabling a quiet, controlled setting with emphasis on landscape. Ideally oriented to the north, with breaks in volume, this organisation provides connection to the surrounding ‘Country’, with long views and vistas to the ranges and waterways. As such, the urban and masterplan strategies employed make the vertical campus feel connected to itself and the broader context.

77

THE HARRY MARKS AWARD FOR SUSTAINABLE ARCHITECTURE

LIVE WORK SHARE HOUSE BLIGH GRAHAM ARCHITECTS

Category Sponsor:

PHOTOGRAPHY: CHRISTOPHER FREDERICK JONES

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The Live Work Share House was envisaged as a prototype for testing ideas and showcasing that a home can grow and transform to suit changing lifestyles. The architects refer to it as a ‘village within a village’, which aptly summarises the inbuilt flexibility and adaptability that can accommodate an office-space and a self-contained shared or rental space in addition to a standard home. Such a typology supports sensitive densification of the suburbs and expands housing choice. The long-term relevance of this project is likely to reduce the whole-of-life embodied energy of the building.

The connections between these uses and the flexibility of the spaces is based on clear, logical planning that integrates the site and the building. The intention of making a sustainable and sustaining place has generated spaces that are comfortable, beautiful, and a joy to be in. The building is commendable as a model of the way people can live using every opportunity of an ‘ordinary’ suburban block. It helps push the understanding of sustainability beyond the biophysical by considering the wider social/ economic context. The project also delivers a positive contribution to the community, with porous, activated street edges and a street verge edible garden.

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AWARD FOR SUSTAINABLE ARCHITECTURE

MUTTABURRASAURUS INTERPRETATION CENTRE BRIAN HOOPER ARCHITECT

Category Sponsor:

PHOTOGRAPHY: LISA ALEXANDER

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An incredibly successful project connecting a prehistoric past to the desert landscape in a rural town setting, the Muttaburrasaurus Interpretation Centre adds a layer of community pride and economic sustainability as an important piece in the Queensland Dinosaur Trail and Paleo Tourism. The use of local materials was critical and reduced carbon-emitting transportation requirements. A wonderful example of biophilic design, the Centre connects visitors with the environment. Durable materials and robust detailing minimise ongoing maintenance for an unattended, self-guided facility that boasts naturally ventilated space and energy efficient, daylight-supplemented lighting.

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COMMENDATION FOR SUSTAINABLE ARCHITECTURE

TIMBER TOWER KIRK

The Timber Tower project demonstrates broad capacities in development and procurement while delivering on the client’s brief. The architect worked with the supplier, fabricator, and client to procure, document, shop draw, and fabricate the timber structure before the contractor was appointed to deliver the 5-storey Timber Tower in less than 2 months. The cleverly minimised internal finishes enable the rich timber interior to elevate the senses. This simple but carefully considered and coordinated project used methodically planned prefabrication techniques, and demonstrates innovation in the building process.

Category Sponsor:

PHOTOGRAPHY: SCOTT BURROWS

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83

THE HAYES & SCOTT AWARD FOR SMALL PROJECT ARCHITECTURE

RIVERSIDE GREEN SOUTH BANK PARKLANDS HASSELL

PHOTOGRAPHY: SCOTT BURROWS

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Riverside Green allows for simultaneous occupation for a variety of scales and uses, supporting Brisbane’s recreation needs at a time when population growth is putting pressure on the city’s existing public green spaces.

Subtle spatial modulation creates a gradient, from enveloping rainforest to open lawn, and the deliberately blurred lines provide home to 10,000 new plants. The gentle stepping down across the site connects and leverages its prime riverfront position. A direct movement route, combined with new connections between the Arbour and river, boosts access for pedestrians in the precinct. The pavilion’s elegant copper skin has been carefully considered and deliberately employed, and complements the setting, bringing durability and timeless appeal to highlight the civic function of the space.

The rainforest extension increases the urban tree canopy of the Parklands, and the grotto provides a sunken retreat immersed in nature.

The vine-covered pergola shades the space with hanging plants, which change with the season and showcase local endemic species.

A new artwork and water feature marks a former creek that ran to the Brisbane River and invites reflection, interaction, and play. ‘Water is Life’ by artist Elisa Jane Carmichael, a Ngugi woman from Quandamooka Country, honours the significance of water to First Nations People.

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AWARD FOR SMALL PROJECT ARCHITECTURE

MUNDINGALBAY YIDINJI ECO-CULTURAL ARRIVAL FACILITIES PHILIP FOLLENT ARCHITECTS

PHOTOGRAPHY: A.WATSON

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The vision for the Mundingalbay Yidinji EcoCultural Arrival Facilities project was to put people, Country, and culture back together in a sustainable way for the current environment, enhancing the tourism that will economically support future generations and the preservation of the local First Nations People’s identity and culture. An intelligent and well considered response to providing immediate shelter to visitors arriving at the East Trinity jetty, the project is both off-the-grid and small in scale, comprising two buildings that meet all of the clients’ service requirements. The arrival structure is spacious, with a large spanning roof that provides shade and weather protection from the harsh environs. In contrast, the amenities building is an ‘inverted box’, creating a powerful juxtaposition of language between the two buildings.

The project exemplifies attention to detail in the fascia, cladding, lighting, and throughout, and the design of the structures was sited to minimise vegetation clearing. A small but complex undertaking, the Facilities resolve accessibility, pontoon positioning, and tidal and flood issues, as well as biodiversity preservation. With imagery connected to the Indigenous culture of the area, this project provides an artistic outcome and creates an architectural identity for the significant East Trinity Reserve.

87

COLORBOND® AWARD FOR STEEL ARCHITECTURE

ROBINSON ARCHITECTS

A pavilion-like house located in the Noosa Hinterland, the Ridgewood House was designed to meet the clients’ demands for a more sustainable way of living in response to the specific site and its climate. The house is orientated towards a fall in the landscape, which is framed through large, glazed openings and outdoor rooms that slot into an expressed lightweight steel frame and in-situ concrete walls.

PHOTOGRAPHY: NIC GRANLEESE

Upon arrival, an existing shed, re-clad in galvanised iron, is brought back to life as a studio and utility space, and provides cues to the new to form a distinctive reading of the broader contextual relationship with place. The new awning on the shed continues, becoming the central spine into the house and linking the two parallel volumes to the external condition. The site planning arrangement ties the new and old together coherently, and secures its connection to the terrain, which the building seems to settle into.

RIDGEWOOD HOUSE

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The house is armoured in a mixture of COLORBOND® Night Sky corrugated sheeting and galvanised iron sheeting, steel, glass, and concrete to defend it from wildfires. The steelwork is carefully detailed and is an expressive part of the architecture. From the slender edge of the long cantilevering roof, the batten screens filtering light and privacy, to the customed steel plate stand for the fireplace, the attention to detail is evident.

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COMMENDATION FOR COLORBOND® AWARD FOR STEEL ARCHITECTURE

MIAMI AQUATIC CENTRE LIQUID BLU

The sensitive redevelopment of the Miami Aquatic Centre by Liquid Blu enhanced and reinvigorated a much-loved and ageing facility while respecting its existing identity and heritage vernacular The architecture is restrained materiality, and colour palettes take reference from the simple, midcentury beach shacks once common to the region.

COLORBOND® steel in corrugated and trapezoidal profiles were specified as the main cladding material, and deliver multiple benefits to construction, durability, and aesthetics.

A thoughtful, climatic-responsive project, this sets a cohesive design language for future development.

PHOTOGRAPHY: ANGUS MARTIN

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COMMENDATION FOR COLORBOND® AWARD FOR STEEL ARCHITECTURE

MUNDINGALBAY YIDINJI ECO-CULTURAL ARRIVAL FACILITIES PHILIP FOLLENT ARCHITECTS

PHOTOGRAPHY: A.WATSON

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An ambitious Indigenous eco-cultural project east of Trinity Inlet Cairns, the Mundingalbay Yidinji Eco-Cultural Arrival Facilities project is commended for both its architecture ambition and its attention to detail to deliver an entirely off-the-grid facility resilient to the harsh conditions.

The subtle Enseam profiled roof sheeting in COLORBOND® Windspray adds both calm and a clean striking look to the roof form against the lush tropical landscape setting. Meticulous attention to detail, including developing custom engineered fixing for the roof cladding to resist cyclonic events, was essential to fulfilling the brief for a maintenance-free project.

93

EMAGN PROJECT AWARD

THE PRINCESS THEATRE JDA CO

Sam Bowstead’s role as the Project Architect for the design, fitout, construction, and restoration of the Princess Theatre is a commendable accomplishment for his first post-registration project. The opportunity to develop leadership skills concurrently required the achievement of complex and challenging outcomes on a State Heritage Listed building that sits within a constrained site. Sam’s involvement in this project included rationalising legislative constraints, achieving client programmatic requirements, and maintaining the design intent, all while ensuring the cultural heritage significance of the place was appropriately managed and retained.

Sam’s engagement with both the client and the music industry required careful and creative conversations and an understanding of the needs and demands of complex theatre design.

PHOTOGRAPHY: SCOTT BURROWS

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The extensive engineering requisites involved standard disciplines and critical acoustic issues for achieving live music performances, along with venue noise management. Detailed heritage reconstruction and the carefully considered intersection of new elements were a necessity in managing the impacts of the proposed program within the State Heritage site, which has added an essential layer to Sam’s architectural repertoire. Sam’s ability to manage and listen to all concerns from the client, the entertainment industry, experienced consultants, and regulatory authorities has resulted in a commendable project that has reinstated and celebrates the Princess Theatre’s former life.

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EMERGING ARCHITECT PRIZE

TANYA GOLITSCHENKO

Tanya Golitschenko is a consistent advocate for equity and accessibility, listening, mentoring and supporting others. After graduating from the University of South Australia, she has crafted a respected career in transport infrastructure projects, actively helping to shape the city and facilitating widespread accessibility in Brisbane’s public spaces, while simultaneously promoting the representation of young women in the design and construction industries.

Tanya’s role as Project Lead on large-scale projects in practice is considered outstanding for an emerging architect, most significantly leading the architectural design and delivery of Brisbane’s Cross River Rail RIS project. Consisting of seven new and revitalised railway stations and associated buildings, Tanya’s and her team’s work has been praised by colleagues, clients and the community alike; her demonstrated leadership and experience described as ‘beyond her years’

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and … ‘beyond her peers’ (Travis Dawson, Stations and Buildings Team Design/Engineering Manager, Cross River Rail UNITY Alliance).

Of particular note is her admirable pursuit of equitable research-based architecture using innovative collaboration techniques to achieve best-practice equal-accessible outcomes for all transport users. Tanya’s submission demonstrates her efforts to surpass the Access Codes and Standards, exhibiting a deep understanding of transport users of all abilities. Her personal application and achievement have been acknowledged in the construction industry as a selected finalist in the Women in Design and Construction (WIDAC) annual awards and the Probuild Award for achievement in design.

Tanya’s continuing work as an advocate, supporter and mentor of younger staff is admired by her colleagues as is her ‘enviable mix of tenacity, humbleness and empathy’ (Lucy O’Driscoll,

Principal, Hassell). Her active role within Hassell is commendable, both in respect to the firm’s Gender Equality and Staff Development leadership groups, as well as her industry role as Co-Chair of the National Association of Women in Construction’s (NAWIC) Education and Mentoring team. Tanya has served as an Australian Institute of Architects regional awards juror, a mentor and coach to young women, and a passionate advocate within the construction industry of the importance and value of design.

Alongside her leadership qualities in strongly advocating for industry equity and greater outcomes in the level of accessibility in delivered projects, Tanya has a decade-long involvement with the Redland’s Koala Action Group. using her skills to work with government and inform planning and environmental policies for the betterment of Koala habitats.

This combination of professionalism, mentoring and service to the community makes Tanya a worth recipient of the Emerging Architect Prize.

Emerging Architect Prize – Jury Dr Mark Jones: AIA QLD President Tamarind Taylor: 2021 Emerging Architect Prize Winner QLD Liehan Janse van Rensberg: EmAGN QLD Co-Chair Callum Senjov: EmAGN QLD Co-Chair

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THE AUSTRALIAN INSTITUTE OF ARCHITECTS THANKS THE PARTNERS OF THE 2022 QLD CHAPTER ARCHITECTURE AWARDS.

MAJOR NATIONAL PARTNERS

NATIONAL CORPORATE PARTNERS

NATIONAL INSURANCE PARTNER

NATIONAL MEDIA PARTNER

QLD CHAPTER PARTNERS

Established 1912

AWARD PARTNERS

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